Tennyson's 
Lancelot  and  Elaine 

Outline  Questions  on    its   Meaning  and  Form 


BY  FREDERICK  A.  STUFF 

Professor  of  the  English  Language  and  Literature 
University  of  Nebraska 


LINCOLN,  NEBRASKA 
1911 


,'opy  right,  1911 
By 

;i.,m-:iiiCK  AMES  STIFF 


UCSB  LIBRARY  5<4«tc 


Tennyson's 
Lancelot  and  Elaine 

Outline  Questions  on    its    Meaning   and  Form 


BY  FREDERICK  A.  STUFF 

Professor  of  the  English  Language  and  Literature 
University  of  Nebraska 


LINCOLN,  NEBRASKA 
1911 


Lancelot  and  Elaine 

1  (a)  There  are  several  effective  ways  of  opening  a  poem, — 1.  By 
the  use  of  imaginative  appeals.     2.  By  the  use  of  dramatic  interpreta- 
tion.    3.  By  the  use  of  the  author's  interpretation.     What  means  did 
Tennyson  use  in  opening  this  idyll,  1.1.  1-2?     (b)  What  type  qualities 
in  Elaine's  personality  are  given  in  1.1.  1-2?     (c)  Are  they  of  the  True 
or  of  the  Beautiful?    Classify,     (d)  Indicate  by  proper  word  markings 
the  word  classes  represented  in  the  same  lines,     (e)  Is,  or  is  not,  the 
phrase  "lily  maid"  more  satisfying  than  "happy  maid,"  "sunny  maid"; 
"charming  maid"?    Why?     (f)  Compare  and  contrast  the  type  qualities 
in  these  two  lines  with  those  indicated  in  the  first  two  lines  of  any 
one,  or  two,  or  all  of  the  other  Idylls  of  the  King.     Then  say  what  you 
feel   like   saying  concerning  what  your   investigation   has   brought  to 
light. 

2  (a)  What  art  purpose  in  letting  it  be  known  just  where  Elaine 
is?     (b)   Is  there  an  imaginative  "appeal"  in  1.  3?     (c)   What  is  the 
next  "appeal"?     Interpret. 

3  (a)  What  is  indicated  by  the  word  "Then"  1.  6?     (b)  What  did 
Elaine  do  and  of  what  is  it  significant,  kind  or  degree  of  mood,  kind 
or  degree  of  character,  1.1.   5-6?      (c)    What  three   things   did   she   do 
and  of  what  is  each  act  significant  kind  or  degree  of  mood,  or  kind  or 
degree  of  character,  1.1.  7-12?     Quote,      (d)   Does  the  first  "effect"  of 
the  three  "effects"   given  under   (c)    point  to  a  type  "cause"  of  Con- 
science (Principles — "Truth")  or  a  type  "cause"  of  Taste  (Sentiments 
— "Beauty")  in  Elaine's  consciousness?     (e)  Does  the  second  "effect" 
of  the  three  "effects"  given  under  (c)  point  to  a  type  "cause"  of  tates 
(Sentiments — "Beauty..),  or  a  type  "cause"  of  Conscience  (Principles 
— "Truth")  in  Elaine's  consciousness?     (f)  To  what  type  "cause"  does 
the  third  "effect"  given  under  (c)  point?    Name  the  quality  or  charac- 
teristic and  indicate  whether  it  belongs  to  the  Taste  ("Beauty")   type 
"causes"  or  tq  the  Conscience"  Truth  type  "causes"  in  Elaine's  con- 
sciousness),     (g)    How   would  you   reduce   the   type   potentiality   and 
thus  check  the  idealization  of  Elaine  by  a  change  in  word  values,  1.  8? 

4  (a)   What  six  things  did  Elaine  do  and  of  what  is  each  act  sig- 
nificant, kind  or  degree  of  mood,  or  kind  or  degree  of  character,  1.1.  14- 
27?     (b)  Do  you,  or  do  you  not,  feel  that  Elaine  has  had  the  guidance 
of  a  mother?     Why?     (c)  What  force  wholly  separate  and  apart  from 
Elaine  has  energized  the  "causes"  in  her  consciousness  that  occasioned 
the  "effects"  considered  in  1.1.  5-27?     (d)    What  sort  of  "appeals"   to 
Elaine   were  the  dints   and   scratches   on   the   shield?     Explain,      (e) 
What  influence,  if  any,  do  the  appeals  of  character  mood  and  incident 
have   upon    your   imagination?      Explain?      (f)    Why    is    this    opening 
stronger  or  weaker  than  the  opening  of  Gareth  and  Lynette,  Pelleas 
and  Ettarre,  or  Geraint  and  Enid?    Explain. 

5  (a)  When  Elaine  reads  the  shield  what  emotional  inferences  do 
you  make  concerning  the  owner  of  it  and  what  qualities   would  you 
expect  to  find  in  his  personality?     First  state  your  inferences,  then 
indicate  the  qualities  in  a  type  diagram,     (b)  Do  you,  or  do  you  not, 
feel   that   Tennyson's   effort  would   have   been   more   artistic   had   he 
visualized  and  characterized  the  outside  force  which  you  have  men- 
tioned in  your  answer  to  4  (c)?     Why?     (c)   What  has  been  accom- 
plished in  1.1.  1-27? 

6  (a)  Compare    and    contrast    Tennyson's    art    in    displacing    the 
reader's  mood  and  centering  the  interest  upon  the  central  figures  with 
Malory's  efforts.     Consider  appeals,  phrases,  and  words.     Book  XVIII, 


Chapter  VIII.  "Thus  it  passed  on  tyl  oure  Lady  Daye  Assumption. 
Within  a  XV  dayes  of  that  feest  the  kynge  lete  crye  a  grete  justes 
and  a  turnement  that  should  be  at  that  daye  att  Camelot,  that  is 
Wynchester.  And  the  king  lete  crye  that  he  and  the  kynge  of  Scottes 
wold  juste  ageynst  alle  that  would  come  ageynst  hem.  .  .  .  Soo 
Kynge  Arthur  made  hym  redy  to  departe  to  thise  justys  and  wold 
have  had  the  quene  with  hym, — 

7  (a)  Classify  the  phrases,  "lily  maid";   "sacred  shield";   "hidden 
meaning";    "pretty    history";    "God's    mercy";    "ten    years";    "strong 
lance."       (b)     Classify     the      words,     "soilure";     "tinct";     "scratch"; 
"thrust";  "Camelot."  (c)  Quote  the  three  lines  which  suggest  the  high- 
est type  potentiality  in  1.1.  1-27. 

8  (a)   What  art  purpose  in  the  question.  1.1.  28-29?     (b)   What  in- 
fluence do  the  words  "she  that  knew  not  ev'n  his  name,"  1.  29,  have 
upon  the  imagination  and  are  they   significant  of  kind   or  degree  of 
mood,  or  kind  or  degree  of  character?     (c)   To  what  type  "cause"  in 
Elaine's   consciousness    does    the   "effect"   just    classified    point?      (d) 
What  art  purpose  in  1.1.  30-33?     (e)  What  two  things  did  Lancelot  do 
and  of  what  is  each  significant,  kind  or  degre^  of  mood,  or  kind  or 
degree  of  character? 

9  (a)   Classify    the    phrases,    "trackless    realms";     "black    tarn"; 
"misty  moonshine";   "crown'd  skeleton";   "glittering  rivulet."     (b)   Se- 
lect   from    some    other    poem    two    prosaic    phrases,    two    figurative 
phrases,  two  emotional   phrases,     (c)   What  art  purpose  in  1.1.  34-55? 
(d)   What  "appeal"  in  "And  set  it  on  his  head"?     (e)   What  were  the 
"murmurs"?      Explain.      (Always    classify    the    "appeal"    first.      Then 
proceed  with  the  interpretation,  specifying  the   type  or  antitype  and 
classifying  under  the  generic  terms  "Truth"  and  "Beauty.") 

10  (a)    Make  a  type  diagram  in  full  form  of  the  word   "jewels," 
1.  58?     (b)   Of  what  is  Arthur's  saying,  1.1.  58-60.  significant,  kind  or 
degree  of  mood,  or  kind  or  degree  of  character?     (c)    To  what  type 
"caus^e"  in  the  consciousness  of  Arthur  does  the  "effect"  just  classi- 
fied  point?     (d)    Is  it  a  type   "cause"   of   Taste   "Beauty"   or  a   type 
"cause"  of  Conscience  "truth"?     (e)   Of  what  are  1.1.  64-66  indicative, 
kind  or  degree  of  mood,  or  kind  or  degree  of  character?     (f)   What 
hints  now  given  concerning  Lancelot  and   to  what  type  "causes"  do 
they    point?      (g)    What   force   separate   and   apart  from   himself   had 
energized  these  type  "causes"  in  his  consciousness?     (h)  What  meas- 
ure of  Lancelot's  self-repression,   1.1.   70-72?     (i)    What   appeal   to   the 
imagination  in  the  phrase,  1.  73,  and  what  earlier  preparation  makes 
this  possible?     (j)  What  fact  is  interpreted  by  "Is  this  world's  hugest," 
1.    76?     (k)    Recast  1.1.   75-76  and   reduce   the   interpretative   value   by 
presenting  the  fact  statement  in  5xa  form. 

11  (a)  What  do  you  feel  to  be  the  chief  characteristics  in  Arthur 
that  have  been  brought  into  view  thus  far?  (b)  Do  you,  or  do  you 
not,  feel  that  Arthur  is  in  full  sympathy  with  the  Queen?  Why? 
(c)  What  do  you  infer  from  the  Queen's  reply,  1.  80?  (d)What  pur- 
pose in  having  the  King  say  "the  greatest  deeds  of  Lancelot,  and  his 
prowess,"  etc.,  1.1.  8-83?  (e)  What  does  the  Queen  do,  1.1.  83-85,  and 
of  what  is  it  significant,  kind  or  degree  "effect"  of  mood,  or  kind  or 
degree  "effect"  of  character?  (f)What  did  Lancelot  infer  from  it? 
(g)  What  "cause"  in  the  Quenn's  consciousness  occasions  the  "effect" 
that  Lancelot  misinterprets?  (h)  Which  of  the  two  modes  of  your 
imagination  is  energized,  idealization  or  subordination?  Why?  (i) 
What  does  Lancelot  do  or  say,  1.1.  93-94,  and  of  what  is  it  significant 
kind  or  degree  "effect"  of  mood,  or  kind  or  degree  "effect"  of  char- 


acter?     (j)  To  what  type  or  antitype  does  the  effect  point?     (k)   Do 
you,  or  do  you  not,  feel  that  there  is  an  "effect"  in  1.  95?     Why. 

12  (a?*  What  do  you  infer  concerning  the  character  of  the  Queen, 
1.1.  97-101?  (b)  Give  this  "effect"  its  proper  classification.  (c)What 
would  the  Queen  have  said  or  done  if  Lancelot  had  not  remained? 
Ad)  Do  you,  or  do  you  not,  feel  that  Lancelot  is  subordinated  to  the 
Queen?  Why?  )fe)  What  sort  of  an  "effect,"  classify  and  interpret, 
1.1.  103-119?  (When  you  interpret  an  "effect"  always  state  what  type 
"cause"  or  what  perverted  form  of  it  is  brought  into  view  by  the 
"effect.")  /(f)  Of  what  is  it  significant  that  Lancelot  should  refer  to 
Arthur  as  "faultless,"  1.  119?  fls)  Where  now  does  the  subordination 
rest  relative  to  the  Queen  and  Lancelot?  Relative  to  Lancelot  and 
Arthur?  (h)  Classify  the  following  phrases:  "shameless  ones"; 
"blade  of  grass";  "flower  of  bravery";  "pearl  of  beauty."  (i)  Classi- 
fy the  same  phrases  relative  to  their  interpretation  of  "Beauty"  or 
"Truth"  qualities  or  types. 

13*(a)  What  does  the  Queen  do,  1.  120,  and  of  what  is  it  sig- 
nificant, mood  or  character?  ^b)  Do  you,  or  do  you  not,  feel  that 
there  is  different  feeling  in  the  use  of  "faultless,"  1.  121,  than  when 
it  was  used  in  1.  119?  Why?  /\c)  Under  the  cover  of  what  types  does 
the  Queen  see  Arthur,  1.  123?  Make  an  outline,  (d)  Quote  and  classi- 
fy the  "effects"  in  1.1.  121-139?  (e)  Classify  the  phrases:  "scornful 
laugh";  "faultless  king";  meddling  rogue";  "vermin  voices."  x 

14  (a)  What  interpretation  concerning  Lancelot  in  1.  140?  (b) 
What  "effect"  do  you  find  in  1.1.  141-144  and  to  what  type  or  antitype 
in  the  consciousness  of  Lancelot  does  it  point?  Me)  Compare  and 
contrast  Tennyson's  art  with  Malory's  way  of  presenting  his  material. 
See  6  (a)  and  "but  at  that  tyme  she  wold  not,  she  said,  for  she  was 
seke  and  myghte  not  ride  at  that  tyme.  "That  me  repenteth,"  sayd  the 
kynge,  "for  this  seven  yere  ye  sawe  not  suche  a  noble  felawshyp  to 
gyders,  excepte  at  Wytsontyde  whan  Galahad  departed  from  the 
courte."  "Truly."  sayd  the  quene  to  the  kynge,  "ye  must  holde  me 
excused.  I  maye  not  be  there,  and  that  me  repenteth."  And  many 
deemed  the  quene  wold  not  be  there  by  cause  of  Sir  Launcelot  du 
Lake,  for  Sire  Launcelot  would  not  ride  with  the  kynge;  for  he  said 
that  he  was  not  hole  of  the  wound  whiche  Sire  Mador  had  gyven 
hym.  .  .  .  Soo  whan  the  kynge  was  departed,  the  quene  called 
Sire  Launcelot  to  her,  and  said  thus,  "Sire  Launcelot,  ye  are  gretely 
to  blame  thus  to  holde  yow  behynde  my  lord.  What  trowe  ye.  What 
will  youre  enemyes  and  myne  saye  and  dewe?  nought  els  but,  "See 
how  Sire  Launcelot  holdeth  him  over  behind  the  kyng,  and  soo  doth 
the  quene,  for  that  they  wold  have  their  pleasys  to  gyders;  and  thus 
wylle  they  saye,  "sayd  the  quene  to  Syr  Launcelot,  "have  ye  noo 
doubte  thereof."  "Madame  said  Syr  Launcelot,"  I  allowe  your  wytte, 
it  is  of  late  come  syn  ye  were  wyse,  and  therefor,  Madame,  at  this 
tyme  I  will  be  rtilyed  by  your  counceylle,  and  thys  nyghte  I  wylle  take 
my  rest,  and  to  morowe  by  tyme  I  wyll  take  my  waye  toward  Wyn- 
chestre.  "But  wote  yow  wel,"  sayd  Sir  Launcelot  to  the  quene, 
"that  at  the  justes  I  will  be  ageynst  the  kynge  and  ageynst  all  his 
felaushyp." 

*  _  -4^  16  (a)  What  "effect,"  1.1.  144-157?  Classify  and  interpret.  C*>) 
Point  out  the  steps  taken  by  the  Queen  in  subordinating  Lancelot  to 
her  wishes,  (c)  What  interpretation  does  the  Queen  make  concern- 
ing Arthur  commencing  with,—  "and  our  true  King,"  etc.,  1.  151;  and 
how  does  it  differ  from  her  previous  interpretation?  (d)  Briefly 
summarize  your  present  impressions  of  the  Queen;  Arthur;  Lancelot. 
ft  -In  (a)  Just  why  is  Lancelot  angry  with  himself  and  of  what 
is  it  significant,  mood  or  character?  (b)  Are  the  expressions,  1.  161, 


"green  path"  and  "show'd  the  rarer  foot"  forms  of  interpretative 
diction  merely,  or  are  they  "effects,"  as  well,  upon  which  emotional 
inference  can  be  based?  (c)  If  these  expressions  are  "effects"  to 
what  types  in  environment  do  they  point?  (d)  If  they  are  interpreta- 
tive expressions  what  qualities  do  they  interpret?  (e)  Do  you,  or 
do  you  not,  think  that  an  "effect"  may  sometimes  oe  expressed  in 
interpretative  diction  and  thus  increase  the  emotional  value?  Why? 
If)  In  the  light  of  what  you  have  given  under  (e)  discuss  the  ex- 
pression "Fired  from  the  west,"  1.  167.  (g)  What  do  you  desire  for 
Lancelot?  ^ 

17  (a)  Classify   the   phrase   "myriad-wrinkled   man,"   1.    169.      (b) 
Of  what  is  the  word  "marvell'd,"  1.  171  significant?      (c)    Of  what  is 
1.  175  significant,  kind  or  degree>of  mood,  or  kind  or  degree  of  char- 
acter?    Classify  and  interpret,    ^d)   What  art  purpose  in  1.1.  176-177? 

•)C(e)  Do  you,  or  do  you  not,  think  that  what  has  just  been  considered 
constitutes  a  degree  "effect"  of  incident?  Why?  (f)  Is  the  mood  of 
the  household  presented  by  "effects"  or  by  the  poet's  interpretation? 
Why?  (g)  By  what  "effects"  was  Elaine's  father  moved  to  interpret 
as  he  did  1.1.  180-185? 

18  (a)  What  "effect"  in  "by  mere  mischance,"  etc.  1.  188?    Classi- 
fy and  interpret,     (b)   What  "effect"  in  Lancelot's  making  known  as 
much  as  he  did  yet  not  revealing  his  name?     Classify  and  interpret, 
(c)  What  "effect"  in  the  immediate  request  for  a  shield?    Classify  and 
interpret,   ^(d)    What   do  you   emotionally   infer  from   the   announce- 
ment "Here  is  Torre's"?  A<e)  What  sort  of  a  man  is  Sir  Torre  and  by 
what  "effect"  does  he  reveal  himself?  X(f)   TO  what  type  "cause"  or 
its  perverted  form  does  it  point?  ^(g)  Do  you  idealize  or  subordinate 
Sir  Torre?     Why?     Oh)   What  sort  of  a  man  is  the  father  and  upon 
what  "effects"  are  your  inferences  based?     Quote,     (i)   Why  did  the 
father  turn  the  attention  of  the  guest  to  Lavaine?     (j)   How  do  you 
feel  that  Elaine  is  treated  in  this  household?  >C(k)  Quote  and  interpret 
the  "effects"   upon   Lavaine,   1.1.  206-221.     Name  the   type   "cause"  to 
which  each  "effect"  points  and  determine  whether  it  is  of  the  "Beauty" 
or  the  "Truth"  forces.      (1)    What  art   purpose  in   having   the  dream 
told?     (m)  Do  you,  or  do  you  not,  feel  that  Lavaine  is  like  Sir  Torre? 
Why?     Like  Elaine?     Why? 

19  (a)   Classify   the    phrases    "wordless    man";    "lily   maid";    "Ar- 
thur's hall";    "golden  hair";    "noble  knight."     (b)    Properly  mark  the 
words  "joust";  "damsel";  "maiden";  "knight";  "pool";  "jest";  "joke"; 
"stream."    >fc)   What  "effect"  1.  223,  "Smiling  a  moment"?     Classify 
and  interpret.    If  you  feel  that  Lancelot  is  not  ignoble  here  show  what 
type   "cause"   is   brought   into   view   and   determine   whether   it   is   a 
"Beauty"  or  a  "Truth"  force  in  Lancelot's  consciousness?   J(d)  What 
measures  the  degree  of  the  fineness  of  Lancelot's  courtesy,  1.1.   222- 
228?     Quote.   Xe)  What  expression  in  the  lines  just  considered  points 
to  the  activity  of  a  "Truth"  force  in  Lancelot's  consciousness  even 
while  the  "Beauty"  forces  are  energized  and  pressing  for  utterance? 
Quote,      (f)    What   "effect"   on   "plain   Sir   Torre"   and   what   do    you 
infer  from  it?     (g)   To  which  mode  is  the  imagination  energized  by 
the    "effect"    just    considered,    idealization    or    subordination?      Why? 

)(h)  What  did  Rlaine  do  in  the  presence  of  the  stranger  and  of  what 
is  each  act  significant,  kind  or  degree  of  mood,  or  kind  or  degree  of 
character?  (i)  Name  the  type  "cause"  in  the  consciousness  of 
Elaine  to  which  each  "effect"  just  considered  points  and  classify  them 
under  the  "Beauty"  or  "Truth"  forces,  (j)  Do  you,  or  do  you  not, 
feel  that  the  interpretative  expression  "yet  not  falsely,"  1.  235,  is 
necessary?  Why?  (k)  Interpret  1.1.  236-240.  Name  the  type  "causes" 


y 


revealed  and  classify  under  "Beauty"  or  "Truth"  forces.  (1)  What  art 
purpose  in  having  Sir  Torre  speak,  1.1.  229-230? 

20  (a)  What  sort  of  an  "effect"  would  a  "mellow  voice"  be?     (b) 

To  what  type  "cause"  would  it  point?     (c)   Which  of  the  two  great 

forces  in  consciousness  would  be  called  into  expression,  "Beauty,"  or 

"Truth"?     (d)   What  sort  of  an  "effect"  in  "Lifted  his  eyes,"  1.   243? 

or  is  not,  "read  his  lineaments,"  1.  243,  an  effect?     Why? 

L'l  #u)  Uo  you,  or  do  you  not,  think  that  the  Queen  is  "marr'd" 
and  has  she  been  driven  into  "wastes"  and  "solitudes"?  Why?  /») 
What  art  purpose  in  comparing  Lancelot  with  another  as  the  poet 
does  in  1.1.  247-252?  (c)  Do  you,  or  do  you  not,  experience  any  change 
in  the  visualization  of  the  form  and  face  of  Lancelot?  wiy?  See 
1.1.  1-27,  28-33,  67-72,  81-85,  141-144,  180-185,  206-207,  246-259.  *(d)  Does 
the  imagination  insist  on  taking  account  of  the  harder  outlines  and 
thus  subordinating  the  face,  or  does  the  imagination  insist  on  idealiz- 
ing the  form  and  face  of  Lancelot?  Why?-7t(e)  To  what  suggestion 
from  association  and  environment  has  Elaine  responded  and  under 
what  notion  will  she  begin  to  react?  (f)  What  is  your  chief  desire 
for  her?  (g)  Do  you  see  any  obstacles  that  may  so  develop  as  £o 
hinder  the  consummation  of  the  desire  you  have  just  stated.  (Usually 
in  every  well  organized  plot  two  obstacles  to  the  chief  desire  or 
•  Maximum  Consummation"  are  sighted  in  the  first  fifth  of  the  plot 
treatment.) 

-'l  (a)  Classify  the  phrases  "ancient  swordcut";  "great  knight"; 
"rude  hall";  "minstrel  melody";  "wordless  man";  "fierce  design." 
(b)  What  is  it  that  Lancelot  does  which  measures  the  fineness  of 
the  man,  1.  260-266?  Classify  this  "effect."  (c)  What  has  become 
your  chief  desire  tor  Lancelot?  (d)  What  effect  in  "suddenly  speak- 
ing," etc.,  1.  270?  INe)  What  measures  the  character  of  the  "wordless 
man"?  (f)  What  indicates  Lavaine's  mood?  jf(g)  What  measure  of 
Lancelot's  self-repression  and  voluntary  self-subordination,  1.1.  284- 
316? y(h)  Do  you,  or  do  you  not,  feel  that  Lancelot  is  a  greater  man 
than»Arthur?  Why?  (i)  Do  you,  or  do  you  not,  find  yourself  more 
interested  in  Lancelot  than  in  Arthur?  Why? 

23  (a)  What  "effect,"  1.  318?  Classify,  (b)  To  what  type  "cause" 
does  it  point?  (c)  Is  the  "effect"  an  outward  expression  of  "Beauty" 
or  "Truth"?  (d)  Upon  what  "effects"  1.1.  317-328,  does  Elaine  base  her 
emotional  inference?  (e)  What  type  "cause"  does  she  imagine  occa- 
sions the  "effect"  which  she  has  tried  to  read?  (f)  Does  she,  or  does 
she  not,  imagine  a  nonexistent  "cause"?  (g)  What  great  "experien- 
tial effect,"  1.1.  329-336?  (h)  What  is  the  real  and  existent  "cause" 
in  Lancelot's  consciousness  that  occasions  the  "effect"  which  Elaine 
tries  to  interpret?  (i)  Do  you,  or  do  you  not,  feel  that  a  tragedy  is 
inevitabjje^  Why? 

24(TaJ&  What  use  of  figures  does  the  poet  make,  1.1.  329-337?  (b) 
What  Effects"  1.1.  338-341?  Classify  and  interpret,  (c)  What  art 
purpose  in  having  Lavaine  pass  "inward"?  1.  344?  (d)  What  is  the 
feeling  under  which  Elaine  is  acting?  (e)  Do  you,  or  do  you  not,  feel 
that  Elaine  is  conscious  of  the  feeling?  Why?  (f)  Do  you,  or  do 
you  not,  think  that  Elaine  knows  Lancelot  is  about  to  go?  Why? 
(g)  What,  then,  is  the  real  and  existent  type  "cause"  in  Elaine's  con- 
sciousness that  occasions  her  early  rising?  (h)  What  "effects"  in 
"smooth'd,"  1.  345,  "humming  to  himself"?  (i)  Do  you,  or  do  you  not,, 
think  that  the  "effects"  just  considered  clearly  point  to  type  "causes"? 
Why?  (j)  What  is  usually  going  on  in  consciousness  when  a  person 
hums?  (k)  What  was  Lancelot's  mood  the  day  before?  Quote  the 
"effect"  from  which  you  emotionally  infer  what  the  mood  was.  (1) 
How  do  you  account  for  the  change  which  you  observe?  (m)  What 

6 


X 


"effects,"  1.1.  347-348?  Classify  and  interpret,  (n)  Why  does  the  poet 
so  completely  interpret  Lancelot's  mood,  1.1.  348-354.  (o)  What  effects 
in  "silent,"  1.  353,  "rapt,"  1.  354?  (p)  What  "effect"  on  Elaine  does 
Lancelot  read  that  energizes  the  mood  which  the  poet  has  interpreted 
in  the  lines  considered  under  (n)  ? 

25  (a)  What  does  Elaine  do,  1.1.  355-360,  and  of  what  is  it  sig- 
nificant, kind  effect  of  mood  or  character,  or  degree  effect  of  mood 
or  character?  (b)  To  what  type  "cause"  does  the  "effect"  just  con- 
sidered point?  (c)  Which  of  the  two  great  forces  in  consciousness 
has  been  given  concrete  expression,  "Beauty"  or  "Truth"?  (d)  What 
measure  of  Lancelot's  fineness  and  manliness  follows  Elaine's  request? 

(e)  What  saves  to  Elaine  her  simplicity  and  modesty  in  this  situation? 

(f)  Do  you,  or  do  you  not,  desire  to  see  the  request  granted?     Why? 
26)?a)  Do  you,  or  do  you  not,  feel  that  Elaine's  request   points 

to  ill  breeding  and  rudeness?  Why?  Xb)  Do  y°u.  or  do  you  not,  feel 
that  Lancelot  treats  the  request  as  coming  from  a  bold,  untutored 
country  girl?  Why? 

27  (a)  What  "effects,"  1.1.  366-368?  368-370.  Classify  and  interpret, 
(b)  Do  you,  or  do  you  not,  feel  that  Elaine's  request  is  the  first  one 
of  the  kind  Lancelot  ever  received?  Why?X(c)  Just  why  does  Lance- 
lot grant  Elaine's  request?  Consider  his  reply  to  Elaine,  361-363.  (d) 
Do  you,  or  do  you  not,  feel  that  the  subordination  has  been  shifted, 
1.1.  366-376?  Why?  (e)  What  is  the  art  purpose  in  the  lines  just 
considered?  (f)  What  "effects"  1.1.  370-375?  Classify  and  interpret. 

(g)  How  does  Elaine  interpret  the  last  "effect"?     (h)   Through  what 
"effect"  do  you  get  her  interpretation?     (i)   How  and  by  what  means 
is  the  last  trace  of  Elaine's  subordination  swept  away?     Quote,     (j) 
What  "effect"  in  "A  grace  to  me,"  etc.,  1.1.  381-382?     (k)    Why  does 
Lancelot  say  "my  child"?     (1)    To  what  type  "cause"  does  it  point? 
(m)    "Which  of  the  two  ultimate  forces  has  been  given  concrete  ex- 
pression,   "Beauty"    or    "Truth"?      (n)    What    "effects"    on    Lavaine, 
1.1.  383*386?      (o)    To  what  type  "causes"   do  they  point?      (p)    Which 
do  the»  express  "Beauty"  or  "Truth"?  v 

r-r 


Why  not  have  Sir  Torre  instead  of  Lavaine?  (b)  What  art 
purpose,  if  any,  in  having  Lavaine  so  appreciative  of  Elaine? 
What  "effect"  on  Lancelot,  1.  387?  (d)  What  might  a  less  refined 
man  than  Lancelot  have  Jone  under  such  circumstances?  (e)  How  do 
all  the  "effects/  1.1.  345-387,  cause  yor  to  feel  toward  Lancelot? 
(f)  Compare  and  contrast  Lancelot's  'bearing  toward  Elaine  with  his 
conduct  toward  the  Queen?  (g)  Do  you,  or  do  you  not,  feel  that  there 
is  a  greater  spiritual  affinity  between  Lancelot  and  Elaine  than  be- 
tween Lancelot  and  the  Queen?  Why?  (h)  Do  you,  or  do  you  not, 
feel  that  Lancelot  has  ever  met  an  Elaine  before  coming  to  this 
Astolat  castle?  Why? 

29  (a)   Quote    and    classify    each    "effect,"    1.1.    388-396.      (b)    How 
does  the  poet  visualize  Elaine  in  the  lines  just  considered?     Quote, 
(c)  Which  details  visualize  to  the  senses?     Quote,     (d)  Which  detail 
Interprets  to  the  sensibilities?     (e)   Which  detail  is  the  most  illumi- 
nating to  the  imagination  and  effective  enough  to  be  considered  as  a 
"kindling  hint"?     Quote,     (f)  Classify  the  phrases  "noble  lord";   "red 
sleeve";     "yet-unblazoned     shield";     "sudden     stop";     "bright     hair"; 
"serious  face";  "brother's  kiss." 

30  (a)   Classify  the  words  "sparkle"  and  "dipt,"  1.  394?     (b)  What 
word  in  1.1.  393-394  is  sufficiently  potent  to  be  classified  as  a  "kindling 
hint"?    Why?     (c)  What  is  the  borrowed  element  in  "dipt"?     (d)  How 
are  1.1.  395-396  related  to  1.1.  1-27?  y((e)   wb-y  did  Tennyson  open  the 
poem  at  the  point  just  now  reached,  1.1.  395 -396? 


31  (a)  Do  you,  or  do  you  not,  feel  that  one  of  the  turning  points 
of  the  plot  has  been  reached,  1.  396?     Why?     (b)   To  which  division 
of  the  plot,  first  or  second,  do  you  now  think  that  the  material  in  1.1.  1- 
27  belongs?     Why? 

32  (a)    Classify   the   phrases:    "new   companions";    "long   backs"; 
"bushless  downs";    "forty  years";    "white  rock";    "massive  columns"; 
"shorecliff    cave";    "green    light";    "milky    roofs";    "tremulous    aspen- 
leaves";    "falling  showers,"    1.1.    397-410.      (b)    What   "effects,"   if   any, 
in  the  lines  just  considered?    Classify  and  interpret,     (c)  What  is  the 
most  effective  figurative  expression  in  clause  form,  1.1.  405-410? 

33  (a)  Why  does  Lancelot  reveal  his   identity  to  Lavaine?     (b) 
What    "effects"    on    Lavaine    and    what    subordination,    1.1.    418-425? 
(O  What  figure  in  1.  429  and  is  the  appeal  to  the  "Beauty"  or  "Truth" 
types?      (d)    Do    you,    or    do    you    not,    feel    that    1.1.    430-431    clearly 
visualize?      Why?      (e)    What    does    "clear-faced"    interpret    to    you? 
(f)  Do  you,  or  do  you  not,  feel  that  "clear-faced"  serves  as  a  kindling 
hint?     Why?     (g)   What  art  purpose  in  1.  442? 

34  (a)  What  "effect,"  1.1.  443-450?    Classify  and  interpret,     (b)  To 
what  type  "cause"  does  it  point?     (c)   Is  it  the  concrete  expression 
of    "Beauty"    or    "Truth"?      (d)    What    "effect"    on    Lavaine,    1.    450? 

(e)  What  "effects"  in   "bode  a  little  till   he   saw,"   etc.,   1.1.   459-460? 
"Then  he  hurled   into  it,"   etc.,   1.1.   460-461?     Classify   and   interpret. 

(f)  What  is  the  nature  of  the  "effect"  of  the  "red  sleeve"  on  Lance- 
lot's helmet  to  those  engaged  in  the  tournament?     Why?     (g)  What 
visualization,  1.1.  477-478?     Quote,     (h)   What  is  the  essential  visualiz- 
ing detail?     Quote.     (1)    Explain  the  nature  and   use  of  the   figures, 
1.1.  480-484?     (j)  What  is  the  borrowed  element  in  "stormy  crests  that 
smoke  against  the  skies"?      (The  borrowed   element   will  be   seen   if 
"smoke"   in   its  literal   sense   is   outlined   in   type   form.)      (k)    What 
"effects,"  1.1.  485-488?     Classify  and  interpret. 

35  (a)  What  "effect"  1.1.  508-509?     Interpret,     (b)   What  "effects" 
1.1.    510-516?      Interpret.      (c)  What    progression    do    you    find    in    the 
series  of  "effects"  just  considered?  X(d)  Why  did  Lavaine  permit  the 
hermit  to  carry  Lancelot  in?     What  "effect"  in  this?     (e)   How  and 
where  did  the  poet  prepare  for  this  scene? 

36  (a)  Classify   the   phrases, — "ghastly   groans";    desolate   isles"; 
"twenty   times";    "carven   flower";    "restless    heart";    "smiling   face"; 
"frowning  heart."  Ttb)    What   "effects"    on   Arthur,    1.1.    530-545?     In- 
terpret, pc)   Do  you,  or  do  you  not,  think  that  Gawain  is  presented 
by  the  use  of  "effects"?    What  proof?    Quote,     (d)  Do  you,  or  do  you 
not,  think  that  the  presentation  could  have  been  made  more  effective? 
Why?     (e)   Is  he,  or  is  he  not,  worthy  of  a  stronger  presentation  to 
the  imagination?     Why?     (f)   What  reason  for  the  use  of  1.  552?     In- 
terpret the  meaning,     (g)  Does  the  line  quoted  interpret  the  "Beauty" 
or  the  "Truth"  aspects?     (h)  How  would  you  express  the  meaning  in 
a  plain  statement  of  fact? 

37na)  What  "effects"  on  Arthur  and  the  Queen,  1.1.  563-595? 
classify  and  interpret,  "/(b)  What  sort  of  an  "effect"  was  the  "red 
sleeve"  on  Lancelot's  helmet  to  Arthur?^(C(c)  What  type  "cause"  does 
he  infer  from  the  "effect"?  (d)  Is  the  "cause"  real  and  existent  or 
false  and  nonexistent?  (e)  What  experiential  "effect"  has  come  to 
Arthur  from  the  given  "effect"?  (f)  How  does  Arthur  interpret  his 
"experiential  effect"  to  the  Queen?  Quote,  (g)  What  sort  of  an 
"effect"  to  the  Queen  was  Arthur's  announcement,  1.1.  600-602?  V(h) 
Classify  each  "effect,"  1.1.  602-610?*^  (i)  What  is  the  most  active  type 
"cause"  in  the  Queen's  consciousness?  V(j)  Does  it  occasion  the  con- 
crete expression  of  the  "Ugly"  or  the  'False"?  Why? 


•*tywMf" 


38  (a)  Do  you,  or  do  you  not,  feel  that  the  Queen  loved  Lance- 
lot?   Why?     (b)  Do  you,  or  do  you  not-^ee  any  art  purpose  in  having 
Gawain  fail  to  find  Lancelot?     Why?  f[c)   How  does  it  happen  that 
Elaine  greets  Gawain  instead  of  the  Lord  or  Torre?    What  sort  of  an 
"effect"  is  it?     Classify  and  interpret,  ^id)  How  does  the  conduct  of 
Elaine  differ  from  that  of   the   QueenrV(e)    Explain   why   the   news 
concerning   Lancelot  affects   those   two  TSO   differently?      (f)    What  is 
accomplished  by  this? 

39  (a)   What  art  purpose   in  forcing  upon   the  reader  the   inter- 
pretation in  1.  635?     (b)   Do  you,  or  do  you  not,  feel  that  Gawain  is 
characterized  and  subordinated  by  what  he  does,  1.1.  635-646?     Why? 
(c)  Do  you,  or  do  you  not,  think  that  Elaine  read  Gawain's  conscious- 
ness and   character  by   the  "effects"  just  considered?     What   is   the 
type  "cause"  in  Elaine's  consciousness?     (d)  What  "effect"  on  Elaine, 
1.1.  647-654?     Classify,     (e)   Does  this  type  "cause"  energize  the  con- 
crete expression  of  "Beauty"  or  "Truth"?  •iflf)  Do  you  idealize  or  sub- 
ordinate Elaine  when  she  rebukes  Gawain?     Why?     Consider  1.  550, 
"with  smiling  face,"  etc."^(g)  Do  you,  or  do  you  not,  feel  that  Elaine 
has  changed  in  her  consciousness  and  bearing?     If  there  is  a  change 
how  cay  it  be  accounted  for? 

4«l5a)  What  "effects"  on  Gawain,  1.1.  655-665?  Classify  and  inter- 
pret, (c)  Consider  the  chief  "effects"  upon  Elaine  given  thus  far  and 
•quote  in  full  the  one  you  feel  to  be  the  most  illuminating.  Indicate 
to  what  type  "cause"  the  "effect"  points  and  determine  whether  it  is 
an  expression  of  "Beauty"  or  "Truth"? 

41  Tfc)  What   do   you   feel   to    be   Gawain's   motive,   or   what  are 
the  type  "causes"  of  the  "effects,"  1.1.  675-677,  11.  679-684?  >\b)   Since 
Lancelot  is  what  he  is,  and  you  know  it,  do  you  idealize  or  subordi- 
nate Gawain?     Why?     (c)   Do  you,  or  do  you  not,   feel  that   Elaine 
comprehends  what  Gawain  intended  she  should  ? 'ytd)   Do  you,  or  do 
you  not,  desire  that  she  should?     Why?     (e)   Interpret  the  "effects." 

7N(f)    Do  you,  or  do  you  not,  feel  that  there  would  have  been  a  change  in 
I     your  experience  relative  to  Lancelot  if  Elaine's  mother  had  been  liv- 
ing and  had  spoken  face  to  face  with  Elaine  concerning  Lancelot's 
pledges  to  the  Queen  instead  of  Gawain?    Why? 

42  (a)  Which  of  the  two  forces,  "Beauty"  or  "Truth"   has  been 
energized  in  your  consciousness  in  the  control  of  your  feelings  toward 
Lancelot  and  Elaine?    Which  of  the  two  forces  has  been  made  assert- 
ive in   the  control  of  your  feelings   toward   Gawain  and   the  Queen? 
Explain.       (b)     Classify     the     phrases, — "golden     eloquence";     "wild 
flower";     "garden    yews";     "azure    lion";     "gentle    maiden";     "lonely 
heart";  "crafty  house." 

43  (a)  Do  you,  01*  do  you  not,  feel  that  Arthur  is  a  flabby  weak- 
ling?    Why?      (b)    What    "effect"    on    the    "old    dame,"    1.1.    724-725? 
(c)  What  "effect"  on  the  Queen  follows?     (d)   Upon  which  one  does 
the  subordination  rest?     Why?     (e)  Do  you,  or  do  you  not,  desire  to 
see  it  lifted?     Why?     (f)    What   "effect,"   1.1.   731-734?     Classify   and 
interpret,     (g)  Upon  whom  does  the  subordination  now  rest?     (h)  Do 
you,  or  do  you  not,  feel  that  Lancelot  and  Guinevere  are  on  an  equal 
footing  at  the  Court?     Why? 

44  (a)  Do   you,   or   do    you   not,   feel    that   Guinevere'e    love    for 
Lancelot   has   a   more    enduring   quality    than   Elaine's    love?     Why? 
(b)  What  art  purpose  in  having  the  scenes  with  Elaine  and  the  Queen 
as  prominent  figures  shifted  back  and  forth?     (c)  To  which  one  does 
Lancelot  seem  closer,  Guinevere  or  Elaine?     Why? 


X 


45  (a)  Compare  and  contrast  1.1.  740-742  with  Malory's  presenta- 
tion.    In  your  appreciation  discuss  the  literary  values  in  the  presen- 
tation of  the  personality  of  Elaine  and  her  father.    "Now  fair  fader  said 
thenne  Elayne,  "I  requyre  you  gyve  me  leve  to  ryde  and  to  seke  hym, 
or  els  I  wote  I  shalle  go  oute  of  my  mynde,  for  a  shalle  never  stynte 
tyl  I  find  hym  and  my  brooder  Syre  Lavayne."    "Doo  as  it  lyketh  yow, 
"sayd  her  fader,  "for  me  sore  repenteth  of  the   hurts  of  that  noble 
Knyghte."     Ryghte  soo  the  mayde  made  her  redy,  and   before  Syre 
Gawayne  makynge  grete  dole."  *(b)  Are  you,  or  are  you  not,  willing  to 
have  Elaine  go?     Why?X(c)   What  is  the  art  purpose  in  letting  the 
reader  know  why  the  father  gives  his  consent  to  Elaine's  going? 

46  (a)  What  has  measured  most  completely  the  noble  nature  of 
Elaine    and    its    constraining    power?      Quote.      (b)    What    "effects," 
classify  and  interpret,  1.1.  777-782 ?X(C)    Do  you,  or  do  you  not,  feel 
like  correcting  your  first  impressions  of  Sir  Torre?    Why?     (d)  Classi- 
fy and  interpret  the  "effect"  upon  Elaine  which  comes  to  you  through 
what  she  does  not  do  and  does  not  say  in  this  connection  and  which 
you  have  eveiry  reason  to  expect  that  she  will  say  and  do,  1.1.  785-793. 
(e)  Do  you,  or  do  you  not,  feel  that  the  poet's  disposition  of  Sir  Torre 
is  in  keeping  with  his  personality?     Why? 

47  (a)  Why  have  Elaine  first  see  the  "casque,"  1.  800?     (b)  what 
sort  of  an  "effect"  to  Elaine  is  the  "scarlet  sleeve"  in  the  place  where 
it  is?     (c)   What  type  "cause"  does  she  infer?     (d)    Is   the   "cause" 
real  and  existent,  or  false  and  nonexistent?     Why?     (e)   What  "ex- 
periential effect"  does  the  poet  interpret?    Quote  in  full. 

48  (a)   Interpret  the  "effect,"  1.  812?     (b)  What  art  purpose  in  the 
same  line,  812?7>(b)  Interpret  the  "effects,"  "He  roll'd  his  eyes";  "she 
started  to  him";  "His  eyes  glisten'd."     (c)  Do  you,  or  do  you  not,  feel 
that  "Is  it  for  me?",  1.  817,  is  an  "experiential  effect"?     Why?     See 
1.1.   327-337? /(d)    What   art   purpose   in   1.   820?  )f(e)    What   "effect," 
1.1.  823-824?  '  Classify  and  interpret,     (f)   What  Is  the  type  "cause"? 
(g)  Is  it  the  concrete  expression  of  "Beauty"  or  "Truth"^p(h)  What 
type   "cause"    does    Elaine   infer   fro    mthe    "effect"    just   considered, 
1.1.   823-824?  X(i)    Is   it   real   and   existent,   or  false   and   nonexistent? 
What  proof?y(j)   Is  it,  or  is  it  not,  a  corrective  "effect"  to  Elaine? 
Why?     (k)  Do  you,  or  do  you  not,  feel  that  1.  825  interprets  an  "ex- 
periential effect"?    Why?  jijl)  Does,  or  does  not,  the  same  line  serve 
as   an   "effect"   to   your   imagination?     Why?      (in)    What   quality   or 
type  is   most   insistent  in   your  own   consciousness   as  you   seriously 
consider  the  simile  "slipt  like  water"? 

49  (a)  What  "effects"  in  "No  rest  for  me     ...     I  am  at  rest"? 
Interpret,     (b)   Does  Elaine  discern  the  truth  intuitively  and  subject- 
ively experience  it,  or  does  she  intellectually  know  the  fact?     What 
is  the  fact?     (c)  Do  you,  or  do  you  not,  feel  that  Lancelot  understands 
Elaine?    Why?     (d)  Do  the  lines,  831-832,  indicate  "knowing"  or  "feel- 
ing"?^ (e)  What  is  the  "sad  secret"?     (f)  Do  you,  or  do  you  not,  feel 
that  serious  consequences  can  yet  be  averted?     Why?     (g)   Interpret 
the  "effect,"  "and  so  turn'd  sighing." 

50  (a)  Classify    the    phrases,    "weirdly    sculptured    gates";    "rich 
city";    'meek  maid";    "rough  nurse";   "sick  child";    "first  fall";    "deep 
love";    "sad  secret";    "fine  care";    "knightly  fashion."     (b)   What   art 
purpose  in  1.1.  838-872? 

51  (a)  In+erpret  the  "effects"  1.1.  885-898.     (b)    Is,  or  is  not,  the 
subjective    experience    of    Elaine    becoming    objective    and    concrete? 
Why?     (c)What  is  the  meaning,  1.1.  870-872?     Interpret. 

52  (a)  What    was'  your    chief   desire   or    "Maximum    Consumma- 
tion"?    (b)  Do  you,  or  do  you  not,  feel  that  you  have  found  any  lines 
that   reveal   to  you   the   inevitable  outcome?    *(c)    How    do  you   feel 

10 


toward  Lancelot,  1.  899?  (d)  Do  you,  or  do  you  not,  feel  that  thus 
far  Lancelot  has  discerned  the  "Truth"  in  Elaine?  Why?  Xe)  Is,  or 
is  not,  Lancelot's  discernment  of  "Beauty"  in  Elaine  potent  enough 
to  warrant  the  poet  in  having  Lancelot  change  in  his  attitude  and 
feeling  toward  Elaine  and  thus  change  what  seems  to  be  inevitable? 
Why?  , 

53  fa)   What  art   purpose   in   having   Lancelot  return   to   Astolat? 
\  (b)   What  sort  of  an  "effect,"  1.1.  901-903?     Interpret  and  clearly  state 

the  type  "cause."  (c)  Is  "Beauty"  or  "Truth"  concretely  expressed  in 
this  "effect."  fl(d)  Classify  the  phrases,  "sweet  self";  "festal  robes"; 
"victims  flowers. "p£(e)  How  do  you  account  for  Elaine's  conduct  here 
in  the  light  of  what  happened,  1.1.  825-832? 

54  (a)   What  sort  of  an  "effect,"  1.1.  906-912?     Interpret  and  clearly 
state  the  type  "cause."     (b)    Is  the  "effect"  an  exhibit  of  "Truth"  or 
"Beauty"?     (c)  Are  there  any  reasons  why  Lancelot  has  not  discerned 
that  such  a  gift  cannot  be  satisfactory  to  Elaine?     (d)  Do  you,  or  do 
you  not,  see  why  Elaine  cannot  speak?  cf.  1.1.  340-375.^  (e)  Just  why 
is  Lancelot  so  slow  to  understand  Elaine  and  what  does  it  measure? 

55  (a)   What    "effects,"    1.1.    921-922,    925,    932-934?      Interpret    and 
clearly  state  the  type  "causes."     (b)   What  measure  of  the  complete 
spiritualization  of  Elaine's  love  do  you  find?     Quote,  ^fc)   Do  you,  or 
do  you  not,  feel  that  Elaine  is  subordinated?     Why?     (d)  Do  you,  or 
do  you  not,  feel  that  this  scene  is  inartistic  and  unwarranted  because 
of  Elaine's  character?     Why?  we)   Do  you.  or  do  you  not,  feel   that 
Lancelot  is   true   and   honorable?     Why?V(f)    What   art   purpose   in 
having  Lancelot  seek  Elaine?  f 

56  (a)  Do  you,  or  do  you  not,  feel  Lancelot's  effort  is  of  much 
importance?     Why?Ab)   What  "effect,"  1.1.  941-942?     (c)   Do  you,  or 
do    you    not,    approve    of    Lancelot's    interpretation    of    the    nature    of 
Elaine's  feeling?     Why?  V(d)   What  does  Lancelot  mean,  1.1.  949-950? 

T\(e)  Why  are  these  lines  fne  most  significant  of  any  thus  far  given? 

57  (a)   How    does    Tennyson's    measurement    of    Elaine's    mood, 
1.1.  958-961,  differ  from  Malory's,  "Thenne  she  shryked  shyrly  and  felle 
doune  in  a  swoune;  and  thenne  wymmen  bare  her  in  to  her  chamber, 
and  there  she  made  over  moche  sorrowe.     .     .     .     Thenne  Sir  Launce- 
lot  took  his  leve  and  soo  they  departed,  and  came  unto  Wynchestre." 

^(b)  How  does  it  happen  that  the  father  is  upon  the  scene?  (c)  Do 
'you,  or  do  you  not,  feel  that  "rough  discourtesy"  will  accomplish  what 
the  father  desires?  T^d)  Do  you,  or  do  you  not,  feel  that  Lancelot  is 
under  any  obligation  to  Elaine?  Why?^(e)  Do  you,  or  do  you  not, 
feel  that  Elaine  is  subordinated  by  what  she  does,  1.1.  974-975?  Why? 
(f)  What  art  purpose  in  1.  975  ?>j/  (g)  What  measure  of  Lancelot's 
fineness  of  feeling  have  you  founor  ' 

~      58^a)  What    "effects,"    1.1.    982-990?      Interpret.    Xb)    What    arV 
'purpose,   1.1.   1000-1011?/ (c)   What  "effects,"   1.1.  996-1011?     Interpret. 
(d)    Do  you,  or  do  you  not,  feel  disappointed   in   Elaine   because  of 
what  she  feels  and  does?    Why? 

59  (a)  What  sort  of   an   "effect,"   1.   1012?     Explain   and    clearly 
state  the  type  "cause."     (b)   Do  you,  or  do  you  not,  feel  that  Elaine 
is  delirious?    Why?     (c)  What  art  purpose  in  the  association,— "fiery 
dawning,"  "wild   with  wind,"     .     .     .     shrieks   before   a  death"? 

60  (a)  What  "effect,"  1.1.  1020-1035?    Explain  and  clearly  state  the 
type  "cause."     (b)  What  "effects"  in  "gave  a  languid  hand";   "Speak- 
ing a  still  good  morrow  with  her  eyes"?  Me)   What  art  purpose  in 
giving  the  dream  before  the  request  is  mafie?  iftd)   What  "effect"  in 
Elaine's   request  to  be  carried  to  the  Court?  'Interpret  and  clearly 
state  the  type  "cause. 'V(e)  Do  you,  or  do  you  not,  desire  to  have  the 

11 


x 

request  granted?  Why?  (f)  Does  it  seem  to  you  that  Elaine  chooses 
to  go  to  the  court  for  Lancelot's  sake?  Why? 

61  (a)  What  "effects,"  1.1.  1055-1065?  Classify  and  interpret,  (b) 
Do  you,  or  do  you  not,  think  that  it  is  Lancelot's  fault,  1.1.  1068-1070? 
Why?  (c)  Do  you,  or  do  you  not,  think  that  the  "effect"  1.1.  1071- 
1077,  reveals  mood  and  character?  Why?  (d)  What  does  Elaine's 
reply  indicate  and  measure,  ^e)  Do  you,  or  do  you  not,  feel"  like 
taking  the  father's  side  against  Elaine  and  forcing  her  to  see  the 
faults  of  Lancelot?  Why?  (f)  How  completely  did  Elaine  under- 
stand her  father  and  his  purpose?  Xg)  What  "effect"  in  the  granting 
of  Elaine's  request,  1.  1092?  (h)  Interpret  as  fully  as  you  can  Elaine's 
ideal  ol  love. 

63Ha)  Why  is  Elaine's  face  bright,  1.  1095,  and  why  does  the  poet 
say  "bright  as"  etc.  (b)  Why  have  Lavaine  write  the  letter?  (c) 
Why  does  Elaine  feel  that  she  must  bear  the  letter  herself?  (d)  Do 
you,  or  do  you  not,  wish  to  see  her  hindered  in  her  plan?  Why? 
'(e)  What  art  purpose  in  having  Elaine  plan  all  her  details?  (f)  Why 
have  her  dress  like  the  "Queen's  for  richness"?  (g)  For  whose  sake 
and  for  what  purpose  does  she  go  to  meet  the  Queen?  (h)  How  can 
she  speak  and  why  should  she?X(i)  What  art  purpose  in  having  the 
"dumb  old  man"  go  with  Elaine?  >^j)  WThy  does  the  father  make  no 
objections?  (k)  Why,  "so  cheerful"?  (1)  What  art  purpose  in  hav- 
ing so  much  time  elapse?X(m)  Do  you,  or  do  you  not,  feel  that  there 
Is  any  tragedy  in  Elaine's  death?  (n)  Has  her  power  to  live  in  your 
life  decreased  or  increased? 

63  (a)  What    does    the    poet    accomplish    by    the    use    of    "bent 
brows'"?     (b)  Classify  the  phrases, — "bent  brows";  "blackest  samite"; 
"life-long    creature";     "dumb    old    servitor";     "black    decks";     "quiet 
brows"?     (c)  Do  you,  or  do  you  not,  feel  that  it  is  good  art  to  have 
the  silken  case  used  as  it  is?    Why?     (d)  Which  of  the  two  brothers 
speaks,  1.  1144?     (e)  Which  one,  1.  1145?     (f)   Do  you,  or  do  you  not, 
feel  that  the  author  succeeded  in  freeing   this   scene   from   funereal 
aspects?     Why?  x 

64  (a)  Explain   the  reference   "That  day."      (b)    How   long   since 
Lancelot  returned  to  the  court?  Xc)   Do  you,   or  do  you  not,  think 
that   Lancelot   has   followed   out  his   usual   course   of   conduct   when 
returning   to    the   court   after   his   jousts?      Why?      (d)    Any    degree 
"effect"    herein?      Classify,    interpret    and    clea'rly    state     the     type 
"cause"?     (e)  Do  you,  or  do  you  not,  think  that  Lancelot  has  always 
secured   an   audience   with  the  Queen   as   he   tries   to,   1.1.    1160-1161? 
Why?     (f)  Do  you,  or  do  you  not,  think  this  course  is  taken  on  the 
spur  of  the  moment?     Why?X(g)    Explain  fully  the  art  in  1.1.  1166- 


65  (a)  What   art   purpose   in   announcing   the    place   of   meeting, 
1.1.  1170-1171?i(b)  Did  you,  or  did  you  not,  expect  Lancelot  to  kneel? 
Why?     (c)  Why  does  he  turn  so  abruptly  to  the  "rumors"?  V(d)   Is 
Lancelot  less,  or  more  formal  than  you  expected?     Why?     (e)   Is  he 
acting,  or  is  he  acted  upon?     (f)  Why  did  Lancelot  make  this  speech? 
(g)   What  do  you  think  of  it?     (h)   Do  you,  or  do  you  not,  feel  less 
sympathy  for  Lancelot?    Why?  ^^ 

66  (a)  What  indicates  and  measures  the  Queen's  moodW(b)  What 
device  is  used  to  measure  the  time?     (c)  What  "effects,"  1.1.  1194-1196? 
Classify.     Interpret  and  clearly  state  the  type  "cause."     (d)    Where 
does  the  subordination  rest?     (e)  Why  the  full  name,  1.  1198?     (f)  Do 
you,  or  do  you  not,  feel  that  the  Queen's  love  is  genuine?    Why?     (g) 
Why   does   the   Queen    say, — "I  for   you"?  J^h)    What   measures    the 
Queen's  effort  to  subordinate   Lancelot?     Quote,      (i)    Why   does   she 
subordinate   her  own   beauty?     (j)    Why   does   she   change  and   take 

12 


back  the  gift?  /(k)  Did  she,  or  did  she  not,  intend  to  turn  over  the 
diamonds  and  have  them  added  to  the  pearls?  Why?  (1)  What  did 
the  Queen  expect  to  accomplish?  (m)  Do  you,  or  do  you  not,  feel 
any  sympathy  for  her?  Why?  (n)  Why  did  not  Lancelot  try  to  soothe 
and  calna  the  Queen  by  explanation  and  apology? 

67  fo)  What  "effect,"  1.1.  1225-1229?  Classify,  clearly  state  the 
type  "cause"  and  interpret,  (b)  What  measure  of  Lancelot  by  what 
he  does  not  do?  j4c)  Why  have  the  barge  pass  at  this  moment? 

(d)  Why  does  the   poet  say,   "Lay  smiling"?    /(e)    What  art  purpose 
in    having   the   meeting   of   Lancelot   and    the   Queen    at   this    place? 
(f)  Do  you,  or  do  you  not,  feel  that  Lancelot  desires  to  continue  the 
intrigue  with  the  Queen?       Why? 

68Aa)  Why  is  the  Queen  so  disturbed,  1.  1235?  (b)  Classify  the 
phrases, — "wild  Queen";  "marble  stair";  "haggard  face";  "broken 
rocks";  "Fairy  Queen";  "thoughtless  man."  (c)  What  "effects," 
1.1.  1240-1251?  Classify  and  interpret.  X(d)  D°  you,  or  do  you  not, 
desire  to  see  Gawain  chosen  to  act  as  one  of  the  pall  bearers?  Why? 
Why  are  Percivale  and  Galahad  chosen?  (f)  Why  does  Arthur  act 
so  quickly  ??^(g)  Do  you,  or  do  you  not,  find  your  respect  for  Arthur 
increasing?  (Why?  y 

7^69  (a)  Why  does  Gawain  come  first?  *b)  Why  does  the  poet  say 
"mused"?  (c)  Do  you,  or  do  you  not,  expect  Lancelot  to  do  differ- 
ently? Why?  (e)  Do  you,  or  do  you  not,  think  that  the  Queen  realizes 
that  it  is  the  corpse  of  her  rival?  Why?  (f)  How  do  you  account 
for  what  she  does?  y~ 

70  ^a)  Interpret    the    letter,    1.1.    1264-1274.      (\>)    Quote    the    line 
which  is  the  most  significant  to  you.  v(c)  What  was  Elaine's  purpose 
in  coming  to  the  court 

71  (a)  What  "effect,"  1.1.  1275-1278?     Classify  and  interpret,     (b) 
Do  you,  or  do  you  not.   feel   that  Lancelot  now   understands   Elaine, 
1.1.  1280-1298?    Why?     (c)  Do  you,  or  do  you  not,  regret  that  Lancelot 
explains,  1.1.  1286-1287?     Why?     (d)  Do  you,  or  do  you  not,  feel  that  it 
was  worth  while  for  Elaine  to  plan  to  be  taken  to  the  court?     Why? 

(e)  Do  you,  or  do  you  not,  feel  that  Elaine  was  the  victim  of  environ- 
ment, and  circumstances?    Why?*'  (f)  Was,  or  was  not,  Elaine  weak, 
self-centered   and   morally   a   suicide?     Proof,      (g)    Did,   or   did   not, 
Elaine   fail   to   conquer   her   environment   and    its    attendant   circum- 
stances in  the  highest  way?     Why? 

72  (a)  Why    does    the    Queen    speak    as    she    does    to    Lancelot, 
1.1.   1300-1301?     (b)   What  "effect."  "hers  fell,"  1.   1302?     Classify  and 
interpret,     (c)   Why  does  Lancelot  speak  of  the  details  of  the  affair, 
1.1.  1393-1314?     (d)   What  do  you  infer  from  this  reply  to  the  Queen 
relative   to   Lancelot's   attitude   toward   her?      (e)    What   "causes"   in 
Arthur's  consciousness  have/been  energized?     (f)   How  is  this  ener- 
gization  exhibited?     Quote. ^<g)   How  does  Arthur  regard   the  death 
of  Elaine  ?y^(h)  Any  art  purpose  in  having  him  so  regard  it? 

73  (a)  What  shrine  was  it?     (b)   Why  is  Arthur  so  intent  upon 
giving  Elaine  a  royal  burial?    (c)  What  is  the  purpose  in  1.1.  1328-1334? 

Do  you,  or  do  you  not,  approve  of  this  royal  burial?  Why? 
Any  exhibit  of  poetic  justice  in  Elaine's  case?  (e)  Why  have  the 
letters  in  "gold"  and  "azure"? 

74  (a)  What    "effects,"    1.1.    1337-1342?      Classify    and    interpret. 

(b)  What  has  moved  the  Queen  to  do  as  she  does? 

75  (a)  Do  you,  or  do  you  not,  feel  that  Arthur  knows  why  Lance- 
lot has  not  responded  to  Elaine's  love?     (b)   Do  yuu,  or  do  you  not, 
feel   that   Lancelot  can  hear  these   words  without  suffering?     Why? 

(c)  Is  there  anything  in  the  reply  to  indicate  that  he  is  speaking  under 
difficulty?      (d)    Explain   the   king's   meaning,   1.    1369 ?y(e)    Do   you, 

13 


or  do  you  not,  feel  that  his  philosophy  reveals  a  higher  ideal  than 
Lancelot's?  Why?  Xf)  Considering  all  that  Arthur  has  said  and  done 
since  the  arrival  of  the  barge,  1.  1256,  does  he  or  does  he  not,  hold  a 
larger  place  in  your  sympathies?  Why?  (g)  Is  there  any  purpose  in 
so  presenting  the  king? 

76  (a)  Why    does    Lancelot    not    answer    the    king?      (b)     What 
$  "effect,"  "bue  he  went    ...     sat  by  the  river  in  a  cave"?     Classify 

A/JZ_-ytftiterpret  and  clearly  state  the  type  "cause,"  also  show  what  force 
wholly  apart  and  separate  from  Lancelot  has  energized  the  "type 
cause."  (c)  What  purpose  in  having  the  barge  brought  into  view 
again?  (d)  Classify  and  interpret  the  "effects."  1.1.  1382-1386.  Ac- 
count for  his  saying, — "Far  tenderer";  for  the  expression  of  his  fare- 
well; for  his  saying, — "now  at  last"  and  what  he  means  by  it.  (e) 
Compare  and  contrast  Lancelot's  feeling,  1.1.  830-837,  846-872,  873-882, 
949-950,  with  1.1.  1382-1386?  (f)  How  do  you  account  for  the  fact  that 
Lancelot  now  turns  to  the  Queen's  expression  "jealousy  in  love," 
1.  1386?  (g)  What  is  Lancelot's  argument,  1.1.  1386-1390?  (h)  Is  he, 
or  is  he  not,  right  in  speaking  of  "jealousy  in  love"  as  he  does?  Why? 
(i)  When  did  Lancelot  first  intuitively  discern  the  difference  between 
the  love  of  Elaine  and  the  feeling  of  the  Queen?  Quote,  (j)  When 
did  he  give  conscious  and  complete  utterance  to  his  discovery?  Quote. 

77  (a)  Why  does  Lancelot  ask  the  question,  1391?  ^(b)   How  do 
you   account   for   this    sweeping   sense   of   unworthiness?      (c)    What 
revelation  is  given  in  1.1.  1411-1416?     (d)  Do  you,  or  do  you  not,  feel 
that  the  poem  could  be  brought  to  an  artistic  close  before  Lancelot 
makes  his  resolve  and  utters  his  prayer?     Why? 

78  (a)  Do  you,  or  do  you  not,  feel  that  the  coming  of  Elaine  to 
the  court  has  accomplished  what  she  desired?     Why?     First  clearly 
show  the  author's  purpose,  then  follow  with  quotations  of  proof  sup- 
porting your  opinion  or  convictions?     (b)   Name  in  the  order  of  their 
importance  the  five  primary  characters,     (cj  Name  the  five  secondary 
characters,     (d)   Name  the  three  characters  of  least  importance. 

79 Xa)  Is  this  the  tragedy  of  Lancelot,  or  of  Elaine,  or  of  both? 
Why?  (b)  What  measures  most  completely  Elaine's  power  to  live 
in  the  lives  of  others?  (c)  What  is  the  "Poetic  Manner"  of  present- 
ing theme  meanings  to  the  mind?  See  Elements  of  Literature  and 
Composition,  Chapter  XXIX.  (d)  Discuss  this  poem  in  the  light  of  the 
"Poetic  Manner."  Conclude  the  discussion  with  a  clear  statement  of 
the  "sentiment"  and  "principle  of  wisdom"  revealed  by  the  poet. 

80  (a)  One   critic   has   suggested   that, — "Tennyson    enforces   the 
idea  of  a  serious  purpose  in  life  as  essential  for  the  making  of  a  true 
man  or  a  true  woman.    He  sets  forth  an  ideal  which  is  formed  of  two 
elements — the  strength  and   firmness  of  man,  mingled  with  the   ten- 
derness and  gentleness  of  woman.     Such  is  his  conception  of  knight- 
liness."     In  your  reading  of  the  Idylls  of  the  King  have  you  found 
support  for  such  a  statement?     Discuss  fully  and  support,  your  opin- 
ions or  convictions  with  quotations. 

81  (a)  What  is   "literary  proportion"?     See   Elements   of   Litera- 
ture and  Composition,  Chapter  XXXII,  pp.  290-292.     (b)   In  which  one 
of  the  five  literary  forms  is  Lancelot  and  Elaine  cast?     (c)    Indicate 
thp  five  acts  which  shape  the  destiny  of  the  title  characters.     Quote 
lines,      (d)    Indicate  the  scenes   which  should   be  included   in   Act   I. 
(e)   In  act  V. 

82  (a)  What   are    the   essential    characteristics    of   Romanticism? 
(b)   Of  Realism?     See  Elements  of  Literature  and  Composition,  Chap- 
ter XXXIV,  pp.  314-315.     (c)    How  would  you   classify   Lancelot  and 
Elaine?     Why? 

14 


83  (a)   "Literature  may   be  classified   with   reference   to   the   pre- 
vailing character  of   the   elements   composing   it."     See   Elements   of 
Literature  and  Composition,  Chapter  XXXIV,  pp.  315-316.     (b)   In  the 
light  of  what  comes  to  Lancelot  how  should  the  poem  be  classified? 
Why?     (c)  As  a  study  of  Elaine?     Why? 

84  (a)   Before   attempting   to   answer   questions    given   below    pic- 
ture in  your  mind  the  first  scene  in  which  Lancelot  and  the  Queen 
appeared.     As  soon  as  you  have  clear  images  of   that  scene   picture 
the  last  scene  of  tiie  poem  where  Lancelot  sat  by  the  river  in  a  cave 
and    saw    the    unburdened    barge    moving    down.      Then    consider    the 
final  and  paramount  imaginative  appeals  of  the  poem   and  write  out 
answers  to  each   question  given   below  the  quotation. 

"And  Lancelot     .     .     .     Sat  by  the  river 

And  saw  the  barge  that  brought  her,  moving  down, 

.     .     .     and  said     .     .     . 

Low  in  himself.  "Ah,  simple  heart  and  sweet, 

Ye  loved  me,  damsel,  surely  with  a  love 

Far  tenderer  than  my  Queen's.     Pray  for  thy  soul? 

Ay,  that  will  I.     Farewell  too — now  at  last — 

Farewell,  fair  lily.     "Jealousy  in  love?" 

Not  rather  dead  love's  harsh  heir,  jealous  pride? 

Queen,  if  I  grant  the  jealousy  as  of  love, 

May  not  your  crescent  fear  for  name  and  fame 

Speak,  as  it  waxes,  of  a  love  that  wanes? 

For  what  am  I?  what  profits  me  my  name 

Of  greatest  knight?     I  fought  for  it,  and  have  it; 

Pleasure  to  have  it,  none;   to  lose  it,  pain; 

Now  grown  a  part  of  me;  but  what  use  in  it? 

To  make  men  worse  by  making  my  sin  known? 

Or  sin  seem  less,  the   sinner  seeming  great? 

Alas  for  Arthur's  greatest  knight,  a  man 

Not  after  Arthur's  heart;     I  needs  must  break 

These  bonds  that  so  defame  me;   not  without 

She  wills  it;    would  I,  if  she  will'd  it?  nay. 

Who  knows?  but,  if  I  would  not,  then  may  God, 

I  pray  Him,  send  a  sudden  angel  down 

To  seize  me  by  the  hair  and  bear  me  far, 

And  fling  me  deep  into  that  forgotten  mere, 

Among  the  tumbled  fragments  of  the  hills." 

What  do  these  expressions  of  feeling  mean  to  you?  (b)  Show  by 
what  technique  (personality,  literary  elements,  literary  modes  and 
devices)  the  poet  has  enabled  you  to  share  in  this  great  emotion  ex- 
perienced by  Lancelot,  (c)  To  what  purpose,  if  any,  did  Elaine  live 
and  pass  from  sight?  Interpret,  (d)  Could  Elaine's  influence  have 
been  more  effective  had  it  been  consciously  and  intellectually  di- 
rected? Why?  (e)  Now  that  you  have  had  time  to  reflect  do  you 
find  this  poem  to  be  of  noble  uplifting  influence,  or  the  contrary? 
Why?  (f)  Does  the  True  or  the  Beautiful,  or  the  False  and  the  Ugly 
seem  to  exceed  in  the  influence  upon  you?  Interpret,  (g)  Do  you, 
or  do  you  not,  feel  that  the  spiritual  significance  and  impression  of 
this  poem  would  have  been  greater  if  the  same  sentiments  and  prin- 
ciples had  been  unfolded  in  an  essay  or  a  sermon?  Why? 

85  (a)Diagram   and   explain  the   imaginative   appeals   in   1.1.    1201- 
1204;   1.1.  1339-1340;    1.1.   1401-1416.     (b)   Give  some  instance  from  life, 
or  from  books,  containing  imaginative  "appeals"  which  energized  the 
"Beauty"  senses  and  immediately  called  forth  imaginative  "appeals" 
which  energized  and  gratified  the  "Truth"  senses  of  the  observer,  or 
the  hearer,  or  the  reader.    Interpret  the  "appeals."     (c)  Develop  your 

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notion  of  why  Tennyson  presented  Elaine  as  he  did.  Support  your 
opinions,  or  convictions,  with  proof,  (d)  Do  you,  or  do  you  not, 
think  that  the  "diamonds";  the  "shield";  the  "silken  case";  the 
"sleeve";  the  "barge";  the  "letter";  the  "lily"  are  essential  to  the 
plot?  Why?  (e)  What  is  the  final  disposition  of  each  of  these  de- 
vices? Quote  proof,  (f)  Which  are  given  permanent  form?  Quote 
proof,  (g)  Make  type  diagrams  in  full  form  of  the  five  primary 
characters  in  the  order  of  their  importance  in  accomplishing  the 
poet's  purpose,  (h)  Do  the  incident  "effects,"  the  mood  "effects,"  or 
the  character  "effects"  of  this  poem  command  your  chief  interest? 
Why?  Quote  three  examples  of  each  class. 


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